dayoutlast is a record of my direct engagement with mostly contemporary art, mostly Los Angelean.

As this blog has evolved since its 2010 inception, so has my perspective. What I once perceived as central within the investigation was what was central, literally, within the photographic frame that I shared here. While still an important consideration, such thinking has also given way to more peripheral considerations, ones also accompanied occasionally by text (written manifestation of thought) and the oscillations between them. What's missing here are larger unknowns surrounding issues of presentation and representation; the amount of time and space it actually takes to accomplish such first-hand observations; and the quandaries between documentation and interpretation.

Despite my attempt to communicate here with image and text what is essential in some respect about the artwork, neither representation should ever be considered a substitution for the primary viewing experience. Of course, occasionally there are exceptions.

Most of the time, these posts are merely remnants---residual fragments---from my last day out.

Sunday, August 14, 2016

Barbara Kasten "Stages" @ MOCA LA, PDC

Sideways Corner, 2016
HD video, color, silent , constructed corner, 90 degree angle
TRT: 8:15 min. loop

Inside Outside/Stages of Light, 1985
Video documentation of performance at the Brooklyn Academy of Music

Video and dance ACTUALLY and therefore, forefront time, movement, rotation, orientation in space

Color, abstraction, light, and architectonic form
Between object and image
Contemporary modes of seeing (digital rendering of all kinds)
Emphasis on analog processes, materiality, and the body in action (three ways of saying the same thing?)

Construct I-A, 1979
Polaroid Polacolor ER Photograph

Screen: surface, waves (light analog/analogue) Light/color over a body

Untitled Wall Sculpture, 1974
Fiberglass screening

Tension between dimensions and opticality/tactility

Photogram Painting
Untitled 77/3, 1977
Cyanotype (photogram) with paint stick on BFK Rives paper

Wrinkles, waves, folds, landscape, body.  Cf. de Maria western

Photogenic Painting
Untitled 76/7, 1976
Cyanotype (photogram) with Van Dyke and ink on BFK Rives paper

How does a body relate to structure?  Structure molds and shapes as the structure is designed with the structure in mind. cf. chair considers body dimension and also shapes the body.  cf. Bueys 

Figure/Chair, 1973-2015
Diazotype on newsprint
(Exhibition print, archival pigment print)

Bifurcation/division along horizontal/vertical axes. Cf. body, horizon, grid...

Seated Form (yellow), 1972
Handover sisal and Thonet chair

Seated Form (green), 1972
Handwoven sisal and Thonet chair

Seated Form (red), 1972
Handwoven sisal and wooden chair

Amalgam Untitled 79/18, 1979
Gelatin silver print (enlargement with photogram) with crayon

Amalgam Untitled 79/16, 1979
Gelatin silver print (enlargement with photogram) 

Amalgam: painting/photography toggle; Layered screen = grain, wave, Moire. 
So, what about the interest in a screen? An even, porous surface? Body skin? What would a "grid" of an actual body look like, the quality of the surface (also of glass)? Not as smooth as it would seem (at least to the naked eye).

Scene VII, 2012
Archival pigment print

Tears/cutting through. Inland Empire. Interior/exterior. Lucio Fontana.

Scene I, 2012
Arrival pigment print

Scratches (plastic). Layering transparency.

Construct grouping: sculptural sets made for the camera; scaled to the body; colors built up through experiential/compositional layering of cinematic lighting and reflection on neutral forms; incremental process; naked eye can not apprehend the Constructs the way camera and process develop the "image."

Cf. faceted gems of Catherine Opie from the previous show here at MOCA PDC.

Construct XXII, 1983
Polaroid 20x24 Polacolor photograph

Construct PC/1A, 1981
Polaroid 20 x 24 Polacolor photograph

Fragmented space. Light/shadow produce spatial depth; mirror complicates time (past) v. Absorptive present. Line/shape, space all formal elements or early, abstract composition. Cf. Kandinsky, Moholy-Nagy.

Construct V-A, 1980
Polaroid Polacolor ER photograph

Diptych II Construct XXX-XXIX, 1985
Silver dye bleach print (Cibachrome)

Walead Beshty somehow... Perhaps scale and layering of color.

Architectural Site 17, Augsust 29, 1988, 1988
Location: High Museum of Art, Atlanta
Architect: Richard Meier
Silver dye bleach print (Cibachrome)

Single light source?
Holds the fun house effect at bay just enough. Matt Lipps

Surface texture and cylinders. Picabia. Pixil Panes.

Architectural Site 7, July 14, 1986, 1986
Silver dye bleach print (Cibachrome)

Data Punch cards. Pattern and volume.

Construct NYC-12, 1984
Silver dye bleach print (Cibachrome)

80s Constructs recall the Stella works of exploding shapes and color... The lyrical aspects of Kandinsky... Squiggly lines, geometry, pattern. How would Kasten feel about the loss of color in mediation between real space and camera space and printed space? Which is to say, does she care about the color variations between "live" subject and printed object?

Pyramids/Triangular prisms

Cf. Heizer's City...? (Itself only understood up to this point through photography).  Hard-edge geometry contrasting with contours of landscape, nature. Elevation. Light/shadow.  Folding of space through presence and absence. The positive and negative ranges of waves.

Studio Construct 8, 2007
Archival pigment print

Shattering of glass, surface. A whole becoming parts. A decentering.

All the works continue to persist in presentation as works on paper, a fragile, easily warped and torn material in its own right. So, ephemeral passage of time also.

Studio Construct 17, 2007
Archival pigment print

Incidence 3, 2010
Archival pigment print
53 3/4 x 43 3/4 inches

2006 Constructs: remove metaphor (just material, light, and shadow); incidence
 and scene;

So, how to "rip/tear" the digital? Scratches on a record are skips; digital are glitches. Perhaps digital is analog rehash, hence the proliferation of remakes in our culture in the same way that buying the CD version of the vinyl record affords a different experience, sometimes more faithful somehow, sometimes not.  It's also like buying new speakers and becoming reacquainted with familiar work; it reinvigorates by its expansion.  This brings up questions about production values in relation to consumption advancements. So, seeing the world heightened/anew through digital precision as it focuses increments of a wave.  The light and shadow of screen. 

Irwin refusal of photo in relation to these. A rejoinder? Insistence on the interpretation of experience via the eyes, hands, and mind of an artist via the camera.

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